Goldberg Variations

Heard Simone Dinnerstein play Bach's Goldberg Variations at An Die Musik in Baltimore yesterday. Though it wasn't quite the religious experience one might expect hearing the Goldbergs competently played in a small room, it was excellent. Dinnerstein really is a far cry from Gould, just like the article said. The slow movements were beautiful, very lyrical, her sense of time very fluid. She is not afraid to lag behind the beat for an instant, or let a note sustain a hair longer, if it adds to the drama. I am sure there are some purists who would scream bloody murder, but for my money, it's the way to do it. My favorite -- the 25th -- was gorgeous. Her fast movements were actually faster than I expected. Closer to Gould's '55 version, though maybe not quite that fast. J. thought they were sometimes rhythmically uneven, not as "metronomic" as they should have been, but I didn't notice. I was probably too busy being impressed by her articulation. Every note was crytal-clear and distinct, even at breakneck tempos.

There was a reception afterwards. We stayed only for a couple of minutes, but long enough to meet Dinnerstein, say thank you for the lovely performance and exchange a couple of words. She is far less glammed-up and more approachable in person than the photos on her website make her look. She is coming to the National Gallery in the spring, playing all of Beethoven's cello sonatas in chronological order. I'll be there.

In preparation, I listened to Gould's '81 Goldbergs in the morning. They are really quite amazing. I used to say that I preferred the '55 -- vigor, energy, recklessness, all that -- but I am realizing I never really sat down and listened to the '81s carefully until yesterday. I might have to switch my allegiance. Not that I have daily conversations about the Goldberg Variations...